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Woord Vooraf Woord vooraf De man en het monster… De man & het monster? De man vs. het monster? Het monster in de man? Of alledrie? Graag had ik mijn promotor, prof. dr. Claire Van Damme, bedankt voor de begeleiding bij deze masterproef. Ook prof. dr. Freddy Decreus, mevr. Nadia Sels en dr. Patrick Van Rossem wil ik danken om hun bereidwillige advies en de aangereikte literatuur. Verder mag mijn vader niet ontbreken, nog steeds mijn computerheld, en mijn moeder en mijn vriend, om hun steun en toeverlaat. Eva Tack Juli 2008 I. Inleiding I.1 Voorstelling van het onderzoeksproject In deze masterproef wordt de receptie van de klassieke mythologie in de Belgische symbolistische beeldende kunsten onderzocht. Er wordt gekeken naar de intrinsieke kenmerken van de klassieke mythe enerzijds en van de symbolistische kunststroming anderzijds, maar ook naar contextuele factoren, om tot een verklaring te komen voor de gretige recuperatie van de klassieke mythe door de Belgische symbolistische kunstwereld. De klemtoon wordt in deze masterproef gelegd op de mannelijke mythologische personages, de iconografische, maar voornamelijk inhoudelijke mutaties die die mannelijke personages in het symbolisme ondergingen en het manbeeld dat daaruit kan worden afgeleid. I.2 Motivatie Initieel werd vertrokken vanuit een intuïtief ingegeven onderzoeksvraag: waarom dat wijdse aanbod aan mythologie in het (Belgisch) symbolisme? Uit literatuuronderzoek bleek dat geen van alle publicaties over het symbolisme op die vraag een bevredigend of samenhangend antwoord kon bieden. Behoudens enkele onderzoeken naar individuele mythologische figuren, zoals D.M. Kosinski ‟s onderzoek naar de Orfeus-figuur1, A. Lennebachs benadering van Pegasus bij de symbolistische schilder Odilon Redon2 of besprekingen van mythologische personages in het werk van Gustave Moreau,3 leek het kunsthistorisch onderzoek zich, als het zich al met mythologische iconografie in het symbolisme inliet, voornamelijk op de vrouwelijke mythologische personages in het symbolisme te concentreren. Een gedegen onderzoek naar de mythologische vrouw in het symbolisme is overigens terug te vinden in de studie van Sybille Brosi.4 Die wetenschap – de dominante wetenschappelijke concentratie op de vrouwelijke mythologische figuur en de incongruentie met het veel heterogenere en rijkere mythologiegamma in het symbolisme – genereerde een nieuwe nieuwsgierigheid: op welke manier gebeurde de receptie van de mannelijke mythologische figuren in het symbolisme, en zou daar, na een diepgaand en kwalitatief onderzoek, een opvallend manbeeld uit af te leiden zijn? Totnogtoe werd aan de mannelijke mythologische figuur in het symbolisme nauwelijks aandacht geschonken. Compendia die de nawerking van de Oudheid in de kunsten catalogiseren, gaan niet verder dan een oppervlakkige vermelding van bestaande kunstwerken. Bovendien is de benadering van het symbolisme in dergelijke compendia dikwijls marginaal.5 1 KOSINSKI D. M., Orpheus in nineteenth-century symbolism, Ann Arbor, UMI Research Press, 1989. 2 LINNEBACH A., „Pegasus in the art of the 19th century, from Karl Friedrich Schinkel tot Odilon Redon‟, in: BRINK C. en HORNBOSTEL W. (eds.), Pegasus and the arts [tentoonstellingscatalogus], Hamburg, Museum für Kunst und Gewerbe, 8 april – 31 mei 1993, pp. 111-122. 3 Bijvoorbeeld LACAMBRE G., „Diomedes devoured by his hourses‟, in: LACAMBRE G. (ed.), Gustave Moreau. Between Epic an Dream [tentoonstellingscatalogus], Chicago, The Art Institute of Chicago, 13 februari – 25 april 1999, pp. 99-103. 4 BROSI S., Der Kuss der Sphinx : weibliche Gestalten nach griechischem Mythos in Malerei und Graphik des Symbolismus, Münster, Lit-Verlag, 1992. 5 Bijvoorbeeld VERMEULE C., European art and the classical past, Harvard University Press, Cambridge, 1964; MOORMAN E.M. en UITTERHOEVE W., Van Achilles tot Zeus. Thema's uit de klassieke mythologie in literatuur, muziek, beeldende kunst en theater, Nijmegen, Uitgeverij SUN, 1987; Een tweede hiaat in het onderzoeksgebied is het gebrek aan aandacht voor een groot aantal Belgische symbolisten in de internationale kunsthistorische literatuur. Veelal blijkt men steken bij kanjers als Fernand Khnopff, Félicien Rops of Jean Delville6, maar de lange lijst van symbolistische kunstenaars die in deze masterproef werden onderzocht, bewijst dat het België van het fin de siècle heel wat meer in zijn mars had. Het oeuvre-onderzoek bij een zestigtal Belgische symbolistische kunstenaars dat ik naar aanleiding van deze masterproef ondernam, wees bovendien uit dat de combinatie van deze specifieke iconografie (de mannelijke personages) en de geografische afbakening (België) een omvangrijk en zeer interessant arsenaal aan onderzoekscasussen opleverde. Deze masterproef levert dus een unieke bijdrage aan het kunsthistorisch,“receptie- esthetische”7 onderzoek.8 De waarde van deze scriptie ligt immers in het samenbrengen van een groot aantal kunstwerken met mythologische onderwerpen, vervaardigd door Belgische symbolisten, in één studie, maar ook in de plaatsing van die mythologische onderwerpen binnen verklarende contextuele - artistieke en extra-artistieke - factoren, de specifieke focus op mannelijke mythologische personages en de kwalitatieve benadering daarvan bij een breed spectrum aan Belgische symbolistische kunstenaars. Deze scriptie stelt zich bovendien tot doel waar mogelijk wijdverbreide clichés over het symbolisme, zoals de vermeende eenparige en alomtegenwoordige fascinatie voor „de femme fatale‟, te ontkrachten aan de hand van resultaten van een diepgaand onderzoek. I.3 Status Quaestionis Op het eerste zicht lijkt het een waagstuk om binnen de talrijke publicaties over het (Belgisch) symbolisme een onontgonnen onderzoeksveld te vinden. Maar zoals reeds eerder gesteld, is een onderzoeksproject dat zich concentreert op de mythologische iconografie in het Belgisch symbolisme onbestaande. De twee belangrijkste referentiewerken betreffende het Belgisch symbolisme zijn Het Symbolisme in België van M. Draguet9 en Het symbolisme in België van F.-C. Legrand.10 In beide werken worden een groot aantal symbolistische kunstenaars besproken en staat men stil bij de specifieke Belgische context. Tentoonstellingscatalogi omtrent het Belgisch symbolisme schoten de laatste decennia als paddestoelen uit de grond. De belangrijkste voor deze scriptie zijn Van realisme tot symbolisme. De Belgische avant- garde 1880-1900 onder redactie van M. Stevens en R. Hozee11; Splendeurs de l'Idéal. Rops, Khnopff, Delville et leur temps geredigeerd door M. Draguet; Parijs-Brussel Brussel-Parijs. Realisme, impressionisme, symbolisme, art nouveau: de artistieke dialoog tussen Parijs en Brussel, 1848-1914 onder redactie van A. Pingeot en R. Hoozee en Brussel, fin de siècle onder redactie van P. Robert-Jones. Naar aanleiding van de overzichtstentoonstelling van REID J.D. en ROHMANN C., The Oxford guide to classical mythology in the arts, 1300-1990s (vol. 2), Oxford/New York, Oxford University Press, 1993; MOORMAN E.M. en UITTERHOEVE W., Van Alexander tot Zeus. Figuren uit de klassieke mythologie en geschiedenis, met hun voortleven na de oudheid, Amsterdam, Uitgeverij SUN, 2007. 6 Zoals S. Brosi doet in haar onderzoek. D.M. Kosinski ging diepgaander te werk en behandelt in haar studie over Orfeus in het symbolisme ook minder internationaal vermaarde Belgische kunstenaars als Henry de Groux en Emile Fabry. 7 Een term geïntroduceerd door prof. dr. F. Decreus. DECREUS F. (1999), p. 62. 8 Deze scriptie bekijkt immers de manier waarop de antieke mythe in een latere kunststroming, hier het (Belgisch) symbolisme, werd opgevangen. 9 DRAGUET M., Het Symbolisme in België, Antwerpen, Mercatorfonds, 2004. 10 LEGRAND F.-C., Het symbolisme in België, Brussel, Laconti, 1971. 11 STEVENS M. en HOZEE R. (eds.), Van realisme tot symbolisme. De Belgische avant-garde 1880-1900 [tentoonstellingscatalogus], Stichting Sint-Jan, Brugge, 8 juli – 15 oktober 1995 Fernand Khnopff in het KMSKB in 2004, wijdde de redactie van het Kunsttijdschrift Vlaanderen een themanummer aan het Belgisch symbolisme, wat een overzichtelijke reeks artikels over de Belgisch sociaal-culturele context en het symbolisme in verschillende artistieke disciplines opleverde.12 Verwijzingen naar mythologie beperken zich bij deze literatuur tot uitzonderlijke en minieme paragrafen. Hoewel men vragen kan stellen over het wetenschappelijke gehalte van P. Julians Decadente dromers. Symbolistische schilders uit de jaren 189013 – het boek bevat immers geen wetenschappelijke bronvermelding of een degelijke bibliografie – lijkt hij de enige te zijn die in een subhoofdstuk de aandacht vestigt op de mythologische thematiek in het symbolisme. Verder dan „de aandacht vestigen op‟ doet hij echter niet. De inhoud is veeleer nostalgisch gemijmer. Zoals reeds eerder gesteld kan men van mythologische compendia en lexica geen diepgaande kunsthistorische analyses verwachten. Het belang voor dit onderzoek van werken als Van Alexander tot Zeus. Figuren uit de klassieke mythologie en geschiedenis, met hun voortleven na de oudheid14 en Van Achilles tot Zeus. Thema's uit de klassieke mythologie in literatuur, muziek, beeldende kunst en theater van E. m. Moorman en W. Uitterhoeve15 en The Oxford guide to classical mythology in the arts, 1300-1990s van J.D. Reid en C. Rohmann16 ligt in de inventarisatie van (al dan niet symbolistische) kunstwerken met mythologische onderwerpen. Ze reiken gegevens aan die verder op weg zetten. Model en leidraad voor deze masterproef zijn Der Kuss der Sphinx : weibliche Gestalten nach griechischem
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